Rising up from Denver, Colorado, this Hardcore outfit is unleashing their debut opus, a bludgeoning and brutal dive into the feelings of pain, disconnection, and loss that arise from abuse and self-sabotage.
Rising up from Denver, Colorado’s prolific metal scene, Arson Charge are a five-piece behemoth made up of former members from mile-high area stalwarts Native Daughters, Chieftain, and Love Me Destroyer, playing a unique blend of Hardcore, Thrash Metal and Punk Rock, with elements from Thrashcore and Metalcore, tailored for fans of Mastodon, In Flames, Sepultura, Gojira and Black Flag. Now in 2025 the band formed of Ben Roy on vocals, Justin Hackl and Dave Sandoval on the guitars, Kris Hodgell on bass, and Cody Hull on drums is set to release their debut album, titled A Dying Light, recorded at Green Door Recordings and produced by Felipe Patino, Justin Hackl and Arson Charge, offering a bludgeoning and brutal dive into the feelings of pain, disconnection, and loss that arise from abuse and self-sabotage.
The intro The Feeding Grounds sets the stage for the band to kick some serious ass in For The Damned, with the harsh vocals by Ben penetrating deep inside our minds accompanied by the pounding beats by Cody, who then shows no mercy for his drums in Cleanup On Aisle 10, while Justin and Dave make a dynamic guitar duo in an explosion of modern-day Thrash and Groove Metal in the vein of Lamb of God. It’s pedal to the metal in the Hardcore beast titled One by One, with its rebellious backing vocals walking hand in hand with Cody’s sick drumming, whereas investing in a more modern sound we have A New Throne, without forgetting to add their share of heaviness to the sound, followed by There Was No Dog, sounding inspired by classic Punk Rock and led by the raspy vocals by Ben and the pounding drums by Cody.
666 BC stands strong with a foot on the heaviness of Gojira and the other on the progressiveness of Mastodon, with Justin and Dave delivering some of their best riffs of the entire album, followed by The Aftermath, again investing in the power of the riff, with Ben’s harsh vocals being boosted by the thunderous kitchen crafted by Kris and Cody. The Lark The Wolf and The Rabbit is another song with a strong Mastodon vibe, and that means sheer awesomeness flowing from all instruments, of course; and then back to a more straightforward Groove Metal sound we face Build a Fire, with the band’s guitar duo firing sheer heaviness from their axes. Bloodstains offers a nice blend of Thrash Metal and Punk Rock led by Ben and his unrelenting screams, not to mention its hypnotizing riffs and solos, while lastly the title-track A Dying Light closes the album on a Sludge Rock and Metal vibe thanks to the ruthless beats by Cody and the scorching riffs by Justin and Dave.
Arson Charge know exactly how to fuel their metal machine with the feelings of anger and pain in a compelling way, and their debut A Dying Light is a more-than-excellent example of how heavy music will always be a recommended way to channel all that darkness inside us. Hence, you can get in touch with those hardworking and talented boys via Facebook and Instagram, enjoy their caustic music on any streaming services like Spotify, and purchase A Dying Light from BandCamp or from the Anxious & Angry webstore. Arson Charge are beginning to spread their wings over their own country and everywhere else where good Hardcore music is appreciated with their striking debut, leaving us eager for more in the near future while we keep dealing with our inner demons.
Best moments of the album: One by One, 666 BC and The Lark The Wolf and The Rabbit.
Worst moments of the album:A New Throne.
Released in 2025 Anxious & Angry
Track listing 1. The Feeding Grounds 1:16
2. For The Damned 4:18
3. Cleanup On Aisle 10 2:44
4. One by One 4:27
5. A New Throne 4:43
6. There Was No Dog 1:57
7. 666 BC 3:42
8. The Aftermath 4:10
9. The Lark The Wolf and The Rabbit 2:13
10. Build a Fire 3:23
11. Bloodstains 1:50
12. A Dying Light 5:27
Band members Ben Roy – vocals
Justin Hackl – guitar
Dave Sandoval – guitar
Kris Hodgell – bass
Cody Hull – drums
Internally, I feel like a cosmic explosion. It’s where the stars are born. It’s where stars die.
In order to properly celebrate 13 years of The Headbanging Moose, our metal lady chosen for this month of October is the ultimate definition of the underground, and I’m sure that after knowing more about her, you’ll get addicted to her ass-kicking music. She’s the frontwoman for a phenomenal new supergroup named Visitant, as well as the vocalist for the also excellent band Voraath, not to mention she’s also an extremely talented voice actress. Call her by her real name Chelsea Strickland, or by her artistic moniker Chelsea Marrow, she will kick your ass with her undisputed Extreme Metal growls, undeniable charisma, and a deep passion for the darkest and most extreme side of music. Having said all that, do you think you have what it takes to enter in the realm of fire and flames ruled by one of the most talented female growlers of the current heavy music scene? Or in other words, get ready to be pulverized by Chelsea’s scathing vocals in our humble tribute to such a multi-talented woman.
Born on February 2, 1988 in Pensacola, Florida, in the United States, Chelsea started her career in heavy music as the vocalist for a Florida-based Blackened/Melodic Death Metal band named Accursed Creator, with whom she recorded the singles All Will Suffer (2016), Prelude of Worms (2016), and Scourge of Tested Flesh (2018), as well as the three-track EP Sins of the Father in 2016, which includes one of the singles, Prelude of Worms, before departing from the band in 2020. Their new vocalist is a guy named Kodiac Jackson, who joined the band in 2023, but they haven’t released any new material yet with him on vocals. You can enjoy their songs with Chelsea on vocals on both BandCamp and Spotify, and enjoy their official videos for songs like Throne of Iron and Scourge of Tested Flesh on YouTube.
A few years after leaving Accursed Creator, our talented she-wolf joined Asheville, North Carolina-based Technical/Experimental Death Metal band Voraath, alongside Daniel Presnell and Tylor Kohl on the guitars, Paul McBride on bass, and Joshua Nassaru Ward on drums, replacing their previous vocalist Brad Parris, having recorded with the band the excellent Vol 1: The Hymn of the Hunters back in 2024, available on BandCamp, Spotify or any other streaming service. In one of her interviews when she joined the band, she explained how everything happened. “I’ve been friends with Joshua Ward, who’s the current drummer for Voraath, for a couple of years, now. In the past, we’ve discussed the possibility of having me feature on a Voraath song. I believe it paved the way to where we are now. There were some recent lineup changes, and Josh reached out to me. He offered the opportunity to be a permanent member of Voraath and I happily accepted with no hesitation.”
Chelsea likes to describe Voraath’s sound as an auditory odyssey both extreme and emotional. “We wanted to keep our roots and extreme metal while still exploring storytelling,” she commented, also explaining what’s behind their masks and costumes. “We built our own multiverse with cosmic entities who have propagated life throughout a biocentric universe. It’s a complex story but we are in a post-apocalyptic future ruled by corporations and interdimensional entities, and we are just a group of hired retrieval experts trying to support our families in this dismal reality when we are hired to retrieve something that’s beyond our understanding, unearthing the body of a otherworldly being which in the lore is how we get our armor and mask, infused with technology not of this world.”
Unfortunately, the ultra talented Joshua Nassaru Ward, of bands like Rapheumets Well, Olkoth and Xael, sadly passed away on December 31, 2024, and that might have been the end of Voraath as well. Joshua, along with his fiancée and two other people, was killed in a car accident when a drunk driver crashed into their car on New Year’s Eve. Not only Chelsea lost a good friend, but her passion for Voraath and the future of the band together with her bandmates was beautiful, and I’m sure her heart and soul might be broken into tiny pieces after what happened with Joshua based on her previous comments about the band. “Everyone in the band is so fucking talented. I love the depth and storyline behind the music. There is a whole visual experience, in addition to the epic soundscape that Voraath creates. Envisioning myself as an outsider, I see this band as something truly to behold. Memorable.”
Although we might not know what’s going to be of Voraath, Chelsea can also be found now as the frontwoman for a newborn Blackened Death Metal beast named Visitant, and let me tell you such an up-and-coming underground supergroup will crush you like a putrid insect so heavy, dark, emotional and visceral they sound. Formed in February 2022 in Pensacola, Florida by our ruthless diva Chelsea on vocals alongside guitarist Taylor Tidwell (Accursed Creator, Unaligned, Withered Throne), bassist Kilian Duarte (Abiotic, Lattermath, Mimesis, Scale the Summit), and drummer Anthony Lusk-Simone (Abiotic, Lattermath, Pathogenic, Shroud of Bereavement, Your Pain Is Endearing, among many others), this powerhouse of a band brings endless savage energy to the metal community armed with their debut offering, entitled Rubidium, a monster of Blackened Death Metal displaying a stunning yet suffocating artwork crafted by Chelsea herself.
All tracks in Rubidium are fantastic, which each one having a special meaning for Chelsea and the boys. For instance, she had a few words to say about the idea and video for the killer single Fodder. “In the dream, I attempted to bring my friend back from the dead against the warnings of my ancestors – and everything went wrong. It felt like a horror short from my subconscious, and the video captures that eerie, ritualistic atmosphere.” Furthermore, in a recent interview to the excellent The Zach Moonshine Show, Chelsea opened up about the band’s journey, the personal grief behind Fodder, and channeling pain into power through music. “I’m just putting every bit of my spirit into it,” she commented, reflecting on the band’s rise and her transition from Voraath to Visitant. She also discussed the haunting inspiration behind Starless, describing it as “the embodiment of shadow work,” and explained the dreamlike vision that drives her lyricism and visuals. “I like to take personal experiences and turn them into ghost stories.” If you’re eager to know more about Visitant and put your hands on Rubidium, you can find the band on Spotify, purchase the album by clicking HERE, or simply access this link for all things Visitant.
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Chelsea can also be found as a guest vocalist for some amazing metal bands from the underground scene. Her first contributions happened back in 2019, when she recorded guest vocals for the songs Black Annis, from the album Fear In Fiction, by American Metalcore/Rap Metal musician and audio engineer Sammy SlamDance, and Ancient of Days, from the album Dead Gods, by the now defunct American Progressive/Brutal Death Metal band Nekroí Theoí; followed by the song Entity 6, from the 2023 EP Wounded, by American Technical Deathcore piece Fleshbound; and more recently the female vocals for the single Ascended Deliverance, released earlier this year by UK’s Sludge Metal outfit Tigguo Cobauc. She also sang with an American Death Metal band named Seditious Deceit back in 2020, although there isn’t much information about how she contributed to the band’s music at that time. In addition, Chelsea was also responsible for the artwork for the split album Ashes of Dagoth, by American Melodic Death/Black Metal band Ob Nixilis and American Post-Metal act To Keep the Wolves Away, once again showcasing her passion for the darkest side of arts.
When asked about her idols and influences in one of her interviews about Voraath, Chelsea mentioned Sci-Fi movies and video game soundtracks as her main references, while also drawing inspiration from bands such as Dimmu Borgir, Fleshgod Apocalypse, Septicflesh, Cattle Decapitation, Acid Bath, Alkaloid, and Igorr, mentioning in special Fleshgod Apocalypse and Cattle Decapitation as their biggest influences and the top bands she would like to collaborate with either by herself or together with Voraath (and I’m sure with Visitant as well). Moreover, speaking of collaborating with other bands, which leads to also touring with her own band plus other bands, Chelsea also had a few words to say about how anyone can better manage their time and relationships with all band members. “Have a pliable and comprimisable attitude. You’re stuck in a vehicle with four to five other people so developing good coping strategies and having solid communication with each other is important.”
As aforementioned, our she-wolf is also a respectable voice actress, working in the “monster sounds” division of The Monster Factory (or La Fabrique de Monstres), having the ability to craft sounds that resemble zombies, undead creatures, ghouls, vampires, trolls, orcs, goblins, demons, aliens, wizards, humans, animals in general, small creatures, insects, ghosts, whispers, dragons, and robots. For instance, as part of The Monster Factory team, she provided choir vocals for the soundtrack of the 2020 video game Doom Eternal. Not only that, apart from her career as a musician, a voice actress and a visual artist, Chelsea also works as a social media marketing manager and barista at Pacific Kava Bar in Florida, as one of the sponsored artists by CAD Audio, and as a photographer at Metal Purgatory Media and at Chelsea Marrow Photography, proving how relentless and focused she can be.
After all is said and done, I’m sure you perfectly understand now why Chelsea was chosen as our beyond talented metal lady to celebrate another year in the life (and death) of The Headbanging Moose. She lives and breathes heavy music, she never gives up no matter what, and she will keep delivering first-class extreme music for us avid metalheads for many decades to come without a shadow of a doubt. Keep an eye on her social media because we’ll probably see Visitant paying a dark and ruthless visit to several cities and towns in North America anytime soon, hopefully also spreading their blackened wings over Canada, Europe and all other parts of the world, giving us mere mortals the chance to witness live onstage one of the must-see names of the current extreme music scene worldwide. Needless to say, Chelsea will love to see you in the crowd headbanging to her infernal vocals.
This Italian Doom Metal trio will attack armed with their third studio album, spinning tales of arcane fantasy and mortal frailty into riffs that crush and melodies that linger like a curse.
Having carved a niche in the underground since their inception in 2021 with a sound that’s both a homage to the old gods and a fresh hell of its own, slow-burning, groove-heavy, and laced with Stoner Metal venom, Pesaro, Italy-based Doom Metal trio Warcoe returns to action with their third album, titled Upon Tall Thrones, the follow-up to their 2023 opus A Place for Demons. Recorded at Avangarage Recording Studio, and mastered by Craig Thomas, Upon Tall Thrones sees vocalist and guitarist Stefano, bassist Carlo, and drummer Francesco ascend darker, heavier, and more hypnotic as they spin tales of arcane fantasy and mortal frailty into riffs that crush and melodies that linger like a curse.
The opening track Octagon exhales of the trademark and absolutely heavy sound created and perfected by Black Sabbath, from the doomed, grim vocals and riffs by Stefano to the sluggish beats by Francesco, and the final result is obviously hypnotizing, kicking off the album on a high and amazing note. Their devilish Sludge and Doom Metal sounds keep permeating the air in The Wanderer, with Carlo’s low-tuned, rumbling bass walking hand in hand with Francesco’s hammering drums; whereas adding a pinch of Rock N’ Roll to their core sonority we have I’ve Sat Upon Tall Thrones (but I’ll Never Learn), with Stefano slashing his axe in great fashion, resulting in a great option for raising our horns high in the sky in the name of our gold old heavy music.
Then after the soothing instrumental interlude Gather in the Woods we face Flame in Your Hand, another heavy-as-hell Doom Metal aria showcasing the power of the riff while Francesco flawlessly dictates the song’s devilish pace. Spheres again blends the obscurity of Doom Metal with the heavy yet melodic sounds of Sludge and Stoner Rock and Metal, followed by Deepest Grave, and a song with such a Stygian name deserved sheer heaviness, which is exactly what the trio offers, with the cryptic vocals by Stefano sounding spot-on. The ruthless bass by Carlo will punch you in the head in Brown Witch, accompanied by the Black Sabbath-fueled riffs and beats by his bandmates in a lecture in Doom Metal, while lastly it’s time for Dark into Light, with its main riff reminding me a lot of “Heaven & Hell” (which is obviously a good thing), and with the pounding beats by Francesco ending the album on a high note.
Dragging classic doom into the abyss and back with Sabbathian weight, Saint Vitus’ raw gloom, and the swagger of Trouble’s golden-era riffage, Upon Tall Thrones might be the band’s strongest effort to date, and if you want to know more about those bringers of Italian doom you can find them on Facebook and on Instagram, stream their riff-laden compositions on Spotify, and grab a copy of their new album from their own BandCamp or from Ripple Music’s BandCamp or webstore. Warcoe definitely know how to craft heavy music filled with doom, gloom, might, and magic, and Upon Tall Thrones will undoubtedly take them places in their exciting mission of bringing sheer doom to our decaying world.
Best moments of the album: Octagon, Flame in Your Hand and Brown Witch.
Worst moments of the album:Spheres.
Released in 2025 Ripple Music
Track listing 1. Octagon 3:39
2. The Wanderer 3:45
3. I’ve Sat Upon Tall Thrones (but I’ll Never Learn) 4:09
4. Gather in the Woods 2:14
5. Flame in Your Hand 4:24
6. Spheres 4:23
7. Deepest Grave 5:00
8. Brown Witch 4:31
9. Dark into Light 5:40
Band members Stefano – vocals, guitars, bass on “The Wanderer”
Carlo – bass
Francesco – drums
Back from the fires of Denmark with a fresh sound and a badass attitude, this unstoppable creature will crush you with their fourth studio album, a thrilling celebration of Heavy Metal played with Extreme Metal intensity.
Back once again from the fires of Aarhus, Denmark with a fresh sound and a badass attitude, the ruthless Death Metal creature known as Baest will crush our damned minds and souls with their fourth full-length opus, entitled Colossal, following up on their fantastic albums Danse Macabre (2018), Venenum (2019) and Necro Sapiens (2021) while also cementing their reputation as Extreme Metal mavericks with an ear for lethal hooks. Produced, recorded, mixed and mastered by Tue Madsen at Antfarm Studio, and featuring a demonic artwork by Solo Macello, the new offering by frontman Simon Olsen, axemen Lasse Revsbech and Svend Karlsson, bassist Mattias “Muddi” Melchiorsen, and drummer Sebastian Abildsten is an absolute monster, bursting at the seams with catchy riffs and classy melodies, with stylistic salutes to everyone from Ozzy Osbourne and Dokken, through to Iron Maiden and Whitesnake, while still rooted in the belligerent Death Metal that informed previous records, resulting in a magnificent Rock N’ Roll rebirth of such a prominent beast from the Danish metal scene.
The AC/DC-infused riffs by Lasse and Svend ignite the opening tune Stormbringer before the music turns into a wild fusion of Death Metal with Progressive Rock and Metal elements, followed by the indomitable Colossus, showcasing heavy-as-hell, Doom Metal-infused lyrics growled by Simon (“Colossus / Breath the air of the deceit / Colossus / Feel the weight of your defeat / Colossus / Never stray from the common line / Colossus / Crushed under the weight of the colossus”) while the sounds blasted by his bandmates are absolutely dark and menacing. The band keeps delivering sheer adrenaline spearheaded by the venomous vocals by Simon in In Loathe and Love, a lesson in modern-day Death Metal, whereas in King of the Sun, featuring Jesper Binzer of Danish rock band D-A-D on guest vocals, we’re treated to a rockin’ sonority led by the classic beats and fills by Sebastian.
Then blending the fury of Death Metal with the heaviness of Doom and Sludge Metal we have Imp of the Perverse, with Mattias and Sebastian hammering their thunderous weapons mercilessly; and featuring additional vocals by Danish black metal band ORM, the band offers another blast of insanity, heaviness and classy Death Metal in Misfortunate Son, with the riffage by Lasse and Svend exhaling pure adrenaline. Then get ready to be crushed into tiny pieces to the sound of Mouth of the River, where Simon’s deranged growls walk hand in hand with Sebastian’s pounding drums; and a guitar-driven instrumental tune titled Light the Beacons, which feels like an ode to all of their idols and influences, sets the stage for Depraved World, a multi-layered, groovy and vibrant composition where the deep roars by Simon match perfectly with all riffs, bass lines and beats, putting a climatic ending to the album.
Colossal never bends to current trends; instead, it is a thrilling celebration of Heavy Metal played with Extreme Metal intensity, representing a wholesale transformation. Inspired by and infused with old school, classic metal riffs, Colossal is an album that delights in the glory of Heavy Metal and the fine art of rocking out, inviting us all to bang our heads and raise our horns together with those beyond talented Danes, and they’re waiting for you on Facebook, Instagram, YouTube and Spotify with more of their ass-kicking music, undisputed attitude, and deep passion for all types of rock and metal music. Hence, you can purchase a copy of Colossal by clicking HERE, or you can also click HERE for all things Baest, getting to know more about one of the best bands of the current scene worldwide. As you might have noticed, something colossal is coming, and you better brace for impact as those boys are armed to the teeth with the pulverizing sounds of their incendiary newborn beast.
Best moments of the album:Colossus, In Loathe and Love, Mouth of the River and Depraved World.
Worst moments of the album: None.
Released in 2025 Century Media Records
Track listing 1. Stormbringer 4:32
2. Colossus 4:23
3. In Loathe and Love 5:09
4. King of the Sun 4:09
5. Imp of the Perverse 5:56
6. Misfortunate Son 4:02
7. Mouth of the River 4:24
8. Light the Beacons 3:42
9. Depraved World 6:03
Band members Simon Olsen – vocals
Lasse Revsbech – guitars
Svend Karlsson – guitars
Mattias “Muddi” Melchiorsen – bass
Sebastian Abildsten – drums, percussion
Guest musicians
Jesper Binzer – vocals on “King of the Sun”
ORM – vocals on “Misfortunate Son”
Greek forward-thinking grinders return from outer space with their fifth album, a ferocious collection of nine cosmic, menacing tracks delivering a boundary-pushing sonic journey.
“Pessimism is an indulgence and despair is kind of an insult to the imagination.” – Wade Davis
Exploring science fiction and cosmology through cosmic aesthetics and a wide range of heavy, extreme music since their inception back in 2008, even dubbing their style as “Astrogrind”, Athens, Greece-based Death/Black Metal/Grindcore outfit Dephosphorus return with their fifth album, entitled Planetoktonos (a Greek word coined by the band, roughly translating to “Planetkiller”), following up on their 2020 opus Sublimation. Recorded and mixed by George Christoforidis at Ignite Music Studio, mastered by James Plotkin, displaying an intergalactic artwork by Jon Toussas of Graphic No Jutsu, and featuring guest musician Miltos Schimatariotis on all electronics (recorded at Northside Studio), the new offering by Panos Agoros on vocals, Thanos Mantas on the guitars, e-bow and chants, Kostas Ragiadakos on bass, and John Votsis on drums delivers a boundary-pushing sonic journey, sparking the imagination and inviting listeners to explore new dimensions of thought and sound.
The caustic riffs by Thanos and the pounding drums by John will transport us to another dimension in Living in a Metastable Universe, blending the innovation of Mastodon with the heaviness and insanity by Blood Incantation; and Thanos keeps embellishing the airwaves with his wicked e-bow in Hunting for Dyson Spheres, while Panos gnarls like a creature from an uncanny world, flowing into the also demented Pale Veins, offering a well-balanced, thrilling fusion of the harsher sounds of Black and Death Metal with Sludge Metal and more modern and experimental sounds, led by the incendiary drumming by John. Then the quartet shows no mercy for our souls in After the Holocaust, hammering our cranial skulls with more of their intergalactic heavy sounds.
Just when you think they couldn’t sound more infuriated or insane, they offer our avid ears the frantic and chaotic The Triumph of Science and Reason, with Panos roaring nonstop supported by the ruthless bass by Kostas, and those Greek bastards will attack our senses with two intense minutes in The Kinetics of a Superintelligence Explosion, with Thanos delivering his most Death Metal riffs of the whole album. The title-track Planetoktonos brings forward the band’s core sonic madness where Kostas and John will make the galaxy tremble armed with their infernal kitchen, and there’s still a lot of fuel to burn in Calculating Infinity, offering more of their demented vocal lines, thunderous, rumbling bass and intricate beats. Lastly, their voyage through the realms of progressive, avantgarde and experimental heavy music ends with Eternal Bloom, where Panos delivers his trademark vociferations supported by the austere riffage by Thanos.
Those Greek forward-thinking grinders once again aim to expand their listeners’ consciousness with Planetoktonos (dedicated to Swiss musician Didier Séverin, of bands like Knut and Strommorts, who sadly passed away in 2022), fostering a vision of a sustainable future where humanity not only survives but thrives in harmony with its biosphere, and even with AI. Drawing lyrical inspiration from The Expanse novel series by James S.A. Corey and from Superintelligence: Paths Dangers Strategies by Nick Bostrom, Planetoktonos is a ferocious collection of nine cosmic, menacing tracks that pay tribute to the energy and dynamics of trailblazing acts such as Anodyne, Nasum, Playing Enemy, Breach, Knut, Leviathan and Bolt Thrower, and you can join the band in their cosmic adventure by following them on Facebook and on Instagram, by streaming their excellent discography on Spotify, and by purchasing Planetoktonos from BandCamp, from 7Degrees Records, from Nerve Altar, or from Selfmadegod Records, or click HERE for all things Dephosphorus. End of transmission.
Best moments of the album:Living in a Metastable Universe, Pale Veins and The Triumph of Science and Reason.
Worst moments of the album: None.
Released in 2025 7Degrees Records/Nerve Altar/Selfmadegod Records
Track listing 1. Living in a Metastable Universe 3:05
2. Hunting for Dyson Spheres 4:20
3. Pale Veins 3:07
4. After the Holocaust 2:33
5. The Triumph of Science and Reason 1:51
6. The Kinetics of a Superintelligence Explosion 2:09
7. Planetoktonos 3:00
8. Calculating Infinity 3:27
9. Eternal Bloom 4:26
Band members Panos Agoros – vocals
Thanos Mantas – guitars, e-bow, chants
Kostas Ragiadakos – bass
John Votsis – drums
This amazing Blackened Post-Metal act from the UK strikes back with a dark new album, drawing on the band’s personal experiences, exploring themes of grief, depression, suicide, substance abuse and existential dread.
Forged in the fires of Sheffield, in South Yorkshire, England, Blackened Post-Metal creature Ba’al (a title and honorific meaning “lord” in the Northwest Semitic languages spoken in the Levant during antiquity, which came to be applied to gods from its use among people) is unleashing upon us their new album, titled The Fine Line Between Heaven And Here, a caustic fusion of Black, Sludge and Post-Metal recommended for fans of Crippled Black Phoenix, Harakiri For The Sky, Inter Arma, and Sgaile, among others. Recorded and mixed by Joe Clayton at No Studio and mastered by Brad Boatright at Audiosiege, the same team that brought such a richly textured darkness to the last Ba’al release, and adorned in the stunning artwork of True Spilt Milk Designs, the new album by Joe Stamps on vocals, Nick Gosling and Chris Mole on the guitars, Richard Spencer on bass, and Luke Rutter on drums draws on the band’s personal experiences, exploring themes of grief, depression, suicide, substance abuse and existential dread, invoking the intensely human struggles that are played out against this backdrop of disparate elements and in every other place our troubled species has carved out a home.
Mother’s Concrete Womb is simply dark and sinister from the very beginning, gradually morphing into a massive hybrid of the harshness of Melodic Black Metal with the finesse of Post-Black Metal, with the nonstop screams by Joe sounding truly devilish, smoothly flowing into Waxwork Gorgon, where the minimalist yet caustic guitars by Nick and Chris exhale darkness, not to mention all Doom Metal elements present in the music make it even heavier and more compelling. Floral Cairn brings forward more of their neck breaking, melodic and piercing sounds, with Luke showcasing tons of dexterity and power behind his drums, dictating the song’s pace flawlessly; and the band then captures our senses in a dark embrace with the 11-minute aria Well of Sorrows, with the riffage by Nick and Chris guiding the listener through the band’s unruly Post-Black Metal waters, sounding all very detailed, vibrant and doomed. The Ocean That Fills a Wound is even more introspective and enfolding, another lecture in Post-Black Metal where Joe declaims the song’s pensive words with tons of passion, alternating between atmospheric moments and crushing, anguished passages, whereas lastly it’s time for Legasov, bringing to our avid ears one final onrush of melodic yet harsh sounds, with their haunting vocals, sharp riffs and Doom Metal drums putting a phantasmagorical ending to the album.
The journey through the musical landscapes in The Fine Line Between Heaven And Here is a dark and exciting one, and I’m sure you’ll have an amazing time listening to it from start to finish. Ba’al are waiting for you on Facebook and on Instagram with news, tour dates and more of their music, and you can not only stream their music on Spotify, but also purchase their excellent new album from BandCamp, from Road to Masochist, or by clicking HERE, letting their blackened sounds penetrate deep inside your mind and soul while at the same time connecting their music with your own personal experiences and struggles, proving why modern-day Post-Metal is one of the most humane styles in heavy music and, therefore, allowing the musicians involved to open up their hearts to us fans with each of their amazing songs, just like what’s offered to us all in The Fine Line Between Heaven And Here.
Best moments of the album:Well of Sorrows and The Ocean That Fills a Wound.
Worst moments of the album: None.
Released in 2025 Road to Masochist
Track listing 1. Mother’s Concrete Womb 12:56
2. Waxwork Gorgon 8:41
3. Floral Cairn 7:46
4. Well of Sorrows 11:03
5. The Ocean That Fills a Wound 13:25
6. Legasov 8:18
Band members Joe Stamps – vocals
Nick Gosling – guitar
Chris Mole – guitar
Richard Spencer – bass
Luke Rutter – drums
These German Grindcore and Sludge Metal marauders are back with a caustic new EP, a concentrated, precisely articulated sonic language in which madness and surrender blur into one another.
After crushing the souls of the infields with their 2022 sophomore album Der letzte Raum, Dortmund, Germany-based Grindcore/Hardcore/Sludge Metal marauders (and proud supporters of the antifascist movement) Lifetaker are back in action with a short but extremely aggressive and caustic EP, titled Herbsthunde, which translates from German as “autumn dogs”, or whatever the band means with that, always navigating somewhere between noise, punk, and destructive sonic expression. Presenting themselves as a trio for the first time, formed of KonstanJn Schepes on vocals, Alexander Kämper on the guitars and synths, and Gerrit Vocke on bass, vocals and machines, the band delivers in their new EP a concentrated, precisely articulated sonic language in which madness and surrender blur into one another, continuing to dismantle the boundaries of extreme music since their inception back in 2018.
Totsignal (“dead signal”) is absolutely harsh and experimental from the very first second, with the visceral sounds and demented growls blasted by the trio sending shivers down our spines; and Gerrit turns their music into the sounds of heavy machinery in Schattenkabinett (“shadow cabinet”), while KonstanJn keeps vociferating rabidly for our total delight. Then leaning towards the music crafted by Nine Inch Nails and Marilyn Manson, it’s time for Alpha Centurio, sounding more like Industrial or Experimental Metal than their early Grindcore, followed by Maschinensturm (“machine storm”), and the name of the song says it all, a dissonant, experimental and caustic display of the band’s new sound led by the wicked synths by Alexander and the evil machines by Gerrit. Lastly, we have Herbsthunde der Karpaten (“autumn dogs of the Carpathians”), another song with a very poetic name showcasing a menacing atmosphere that goes on until the very end.
Guitar walls, analog interference patterns, and synthetically distorted cries form an intense acoustic field in Herbsthunde (available in full on YouTube and on Spotify), devoid of comfort, but marked by uncompromising clarity. All that creativity and courage to explore new lands while staying true to their roots is what makes the music by Lifetaker so compelling, and in order to join them in such a unique sonic experience you can find those guys on Facebook and on Instagram, and of course put your dirty hands on their even dirtier new offering by grabbing a copy of it from their own BandCamp. Because Lifetaker are more than ready to take your life armed with the undisputed noises found in Herbsthunde, and you better be prepared as those guys most definitely won’t take no for an answer.
Best moments of the album:Schattenkabinett and Alpha Centurio.
A scorching night of sheer progressiveness and aggressiveness in Toronto, courtesy of some of the must-see names of the current American rock and metal scene.
This Sunday night in Toronto was one of those days that felt like you were at an open air sauna, and GLACIAL TOMB, INTER ARMA, HOLY FAWN and RIVERS OF NIHIL made sure Lee’s Palace got even hotter and more humid during their The Aggressive Progressive Tour2025, their last stop of the tour, and another excellent event brought to the city by the one and only Noel Peters of Inertia Entertainment. Keith Ibbitson of Metal Paparazzi coundn’t be there, unfortunately, but not only I was there inside the rock and metal sauna called Lee’s Palace to cover such a great night of heavy music, but I was also lucky enough to get some wild shots from our brother Ryan Miles Leblanc to add to this review. Furthermore, if you take into account almost every single band on this planet is playing at all of those awesome European summer festivals (just check the lineup for Graspop Metal Meeting this year, for example), it’s actually a miracle Toronto got this show during what’s in my humble opinion one of the biggest “metal concert draughts” in the history of the city. In all seriousness, I’m starting to get worried about the future of heavy music in Toronto, as we’re getting less and less concerts, and even being left out of tours scheduled for multiple Canadian location, but Toronto.
Done with the rant about the lack of metal concerts in Toronto. Let’s get back to the show, and what an amazing show by Denver, Colorado’s own Sludge/Death/Black Metal beast GLACIAL TOMB, kicking ass hard in the ass with their heavier-than-hell sounds. Having released the excellent Lightless Expanse last year, available on both BandCamp and on Spotify, the band formed of Ben Hutcherson, Kevin Berstler, David Small and Joey Spates took no prisoners in their quest for heaviness and obscurity, crushing our damned souls with violent yet melodic and grim songs like Abyssal Host and Stygian Abattoir. Those guys were by far one of the most solid opening bands I’ve ever seen live, raising the bar high for the upcoming attractions of the night, and if you’ve never seen Glacial Tomb live or if you’ve never heard anything from them, I highly recommend you go check their discography and keep an eye on their tour dates, because they’re definitely a must-see band of the current underground scene.
Setlist Abyssal Host
Voidwomb
Stygian Abattoir
Wound of Existence
The Lightless Expanse
Enshrined in Concrete
Band members Ben Hutcherson – vocals, guitars
Kevin Berstler – guitars
David Small – bass
Joey Spates – drums
After a short and necessary break, where everyone took the time to cool off with some beer and water (and one of the concert goers even said the air outdoor felt like “butternut squash soup,” just to give you an idea of how hot and humid it was), it was time for Richmond, Virginia-based Sludge/Black/Death/Post-Metal outfit INTER ARMA (and hell yeah, I love their name!) to bring sheer doom to the venue with their noisy and apocalyptic performance. Their ruthless setlist was comprised basically of songs from their latest album New Heaven, released in 2024 (also available on BandCamp and on Spotify), those being New Heaven, Violet Seizures, and Concrete Cliffs, and oh boy, those songs sounded heavier than a thousand thunders. Frontman Mike Paparo was on fire throughout their entire concert, as well as a tiny bit drunk (which was actually fun), supported by the unrelenting guitarists Steven “Dirt” Russell and Trey Dalton, and just like I said for Glacial Tomb, if you know nothing about Inter Arma simply go after their discography because those guys play amazing metal music.
Setlist New Heaven
Citadel
Violet Seizures
Concrete Cliffs
An Archer in the Emptiness
Band members Mike Paparo – vocals
Steven “Dirt” Russell – guitars
Trey Dalton – guitars
Joel Moore – bass
Alex Tomlin – drums
The venue got really packed (and consequently even hotter) when Phoenix, Arizona’s cult Post-Black Metal/Rock act HOLY FAWN took the stage for the total delight of their fans, blasting a dark and gripping setlist including songs from all of their albums, like their 2022 opus Dimensional Bleed, plus their brand new single Beneath a Lightless Star, all available on BandCamp and on Spotify. Literally everyone at Lee’s Palace was having an absolute blast with those American rockers, getting louder and louder as they kept delivering total heaviness armed with their sonic weapons. It was indeed a phenomenal concert by Holy Fawn, proving why they’ve become legends in the underground scene, and even the guys from Rivers of Nihil were enjoying their show a lot from backstage. I guess it won’t take long for the band to return to Toronto, maybe as the headliners next time, and I’m beyond certain it will be a sold out event.
Setlist Candy
Dark Stone
Blood Pact
Beneath a Lightless Star
New song (SVR)
Void of Light
Seer
Band members Ryan Osterman – vocals, guitar
Evan Phelps – guitar
Alexander Rieth – bass
Austin Reinholz – drums
It wasn’t even 9:30pm, which is amazing as that usually means we can all enjoy the show to the fullest without worrying about the time and go home earlier than expected, when the main attraction of the night, Reading, Pennsylvania’s unstoppable Progressive/Technical Death Metal masters RIVERS OF NIHIL took the stage by storm with a brilliant performance, igniting a beautiful “hurricane” on the floor section. Currently promoting their 2025 self-titled new album, which you can enjoy in full on BandCamp and on Spotify, the band formed of Adam Biggs, Brody Uttley, Andy Thomas and Jared Klei, with the support of the awesome saxophonist Patrick Corona (of the excellent Progressive Metalcore band Cyborg Octopus), delivered a powerful, captivating, heavy-as-hell and extremely dynamic show, with songs like The Silent Life, American Death and Water & Time sounding even better live than in the studio, which is always a delight for me, by the way. The band was tight, there was zero room for error, and the reaction of their fans to each song played was a thing of beauty. We even got a wall of death to the sound of Patrick’s saxophone. Thank you, Rivers of Nihil, for bringing some quality heavy music to the city during this boring period of musical draught, and whenever you guys decide to pay the city of Toronto a visit again, rest assured we’ll all be here waiting for you.
Setlist The Sub‐Orbital Blues
The Silent Life
American Death
A Home
The Void From Which No Sound Escapes
Water & Time
House of Light
Death Is Real
Episode
Where Owls Know My Name
Encore:
Clean
Band members Adam Biggs – vocals, bass
Brody Uttley – guitars
Andy Thomas – guitars, backing vocals
Jared Klein – drums, backing vocals
Patrick Corona – saxophone
Toronto’s own conjurers of doom and psychedelia return with their sophomore opus, reflecting the lives of its creators, delving into themes of hopelessness, betrayal, paranoia, and societal frustration.
Emerging from Toronto’s underground in 2018, Doom/Sludge Metal/Psychedelic Rock conjurers Witchrot have captivated audiences with their heartfelt fusion of Doom Metal with fuzzed-out psychedelia and haunting shoegaze, with their atmospheric melodies and crushing heaviness pushing genre boundaries, creating a sound that lingers like an echo in the abyss. Now in 2025 the band formed of vocalist Lea Reto, guitarist Peter Turik, bassist Jon Ferreira, keyboardist Patrick Sherrard, and drummer Myles Deck is set to release Soul Cellar, the follow-up to their 2021 debut Hollow. Recorded by Nixon Boyd at Simcoe Mechanical and by Dylan Frankland at Palace Sound, with additional recordings by Chad Ross and Scott Deathe, mixed by Dylan Frankland, mastered by Tony Reed at HeavyHead Recording Company, and displaying a darkly sexy cover art by ZZ Corpse, Soul Cellar reflects the lives of its creators, delving into themes of hopelessness, betrayal, paranoia, and societal frustration, inviting listeners to immerse themselves in the raw emotion and sonic depth the band has become known for.
In the opener Possession Deepens, a smooth, sexy and enfolding start gradually evolves into a psychedelic sonic voyage led by the minimalist yet powerful vocals by Lea, supported by the atmospheric sounds by her bandmates; and Peter then enhances the band’s aggressiveness with his sharp riffs in Tombstoned, blending Doom, Sludge and Stoner Metal in great fashion while Myles offers those trademark sluggish beats. Throat Cutter is another song that starts in a phantasmagorical way before exploding into more of their fierce rock and metal sonority, with Peter stealing the show again armed with his axe; whereas adding an extra pinch of old school Rock N’ Roll to their core sound we have Die Alone, with Patrick’s striking keys being nicely boosted by the rumbling kitchen by Jon and Myles. Green River is a way too mellow tune that’s not at the same level as the other songs of the album, flowing into Spineless, sounding a lot heavier, darker and stronger thanks to another mesmerizing vocal performance by Lea, resulting in a lecture in modern-day Doom Metal infused with Psychedelic Rock. And lastly, we face the title-track Soul Cellar, with the reverberating, menacing bass by Jon making your head tremble in the name of dark and merciless Doom Metal.
In Soul Cellar, Witchrot continues to evolve while staying true to their roots, creeping and crawling under your skin armed with their insane grooves and eerie keys that will haunt you for days, sounding absolutely diabolical and addictive. Hence, you can get in touch with this precious gem of the Torontonian underground via Facebook and Instagram, staying up to date with all things Witchrot (including their excellent live performances), subscribe to their YouTube channel, stream their music on Spotify or on any other platform, and of course purchase Soul Cellar from BandCamp. Doom and psychedelia have never sounded better together thanks to the undeniable talented of the Witchrot crew, and once you savor their music for the very first time, there’s no turning back.
Best moments of the album:Tombstoned, Die Alone and Spineless.
Worst moments of the album:Green River.
Released in 2025 Fuzzed and Buzzed Records/Majestic Mountain Records
Track listing 1. Possession Deepens 6:51
2. Tombstoned 5:05
3. Throat Cutter 6:23
4. Die Alone 5:06
5. Green River 2:44
5. Spineless 5:03
6. Soul Cellar 8:14
Band members Lea Reto – vocals
Peter Turik – guitar
Jon Ferreira – bass
Patrick Sherrard – keyboards
Myles Deck – drums
A transatlantic metal project featuring members of several renowned acts strikes with their debut offering, a crushing fusion of Heavy, Death and Doom Metal with Post-Metal and other discordant influences.
A transatlantic metal project featuring members of Monsterworks, Bull Elephant, Construct of Lethe, and Black Harvest, Grey Mountain are unleashing upon us their self-titled debut opus, offering our avid ears a crushing fusion of styles from Heavy, Death and Doom Metal to Post-Metal and other discordant influences. Recorded by the band itself, mixed by vocalist and guitarist Jon Higgs (Thūn, Moose Cult), mastered by Dan Swanö at Unisound, and displaying a stylish artwork by guitarist and bassist Kishor Haulenbeek (Black Harvest, Construct of Lethe, In Human Form), the debut album by the aforementioned Jon and Kishor, alongside drummer James Garnett (Monsterworks), will hit you right in the jugular without a single drop of mercy, proving those three talented musicians are not fooling around with their new partnership.
The minimalist guitar lines by Jon and Kishor and the sluggish beats by James set the tone in Grey Mountain, offering a sharp fusion of Doom and Post-Black Metal, or in other words, the music couldn’t have represented better the name of the song (and also of the band). Perpetual Imbalance might be shorter in duration, but it’s as harsh and visceral as the opening track, with James hammering his drums in the name of modern-day Sludge Metal; followed by A Universal Evil, another melodic yet grim creation by the trio, offering a dynamic guitar duel between Jon and Kishor, being therefore perfect for breaking your neck headbanging. Then presenting a pure Post-Metal sonority we have Hermitage, with Jon’s anguished roars sounding beautifully haunting; whereas Many Shades, A Storm starts in a more introspective, serene manner before evolving into a not-so-exciting Post-Metal feast led by James’ classic beats. It’s time for the trio to crush their instruments in Decline and Fall, with Jon roaring like a beast amidst a modern-day fusion of Post-Metal with Doom and Sludge Metal, and the band fires one last breath of heavy and melodic sounds in the form of Living Mythology, with their riffs and solos sounding caustic and piercing until the very end.
Having already a second album planned in a not-so-distant future, Grey Mountain deliver an overdose of heaviness in their self-titled debut offering, which you can purchase from Ampwall or from BandCamp. Also ,although the band itself doesn’t have any official social media yet, you can get more details about the whole project as well as other projects from Jon’s Instagram, and who knows, maybe sooner than we can say “metal” we’ll see those guys hitting the stage together as Grey Mountain. Based on the quality of the music found in their debut, I think we all agree we need that to happen.
Best moments of the album:Grey Mountain, Hermitage and Living Mythology.
Worst moments of the album:Many Shades, A Storm.
Released in 2025 Eat Lead and Die Music
Track listing 1. Grey Mountain 6:39
2. Perpetual Imbalance 3:39
3. A Universal Evil 7:27
4. Hermitage 6:35
5. Many Shades, A Storm 4:30
6. Decline and Fall 3:52
7. Living Mythology 5:48
Band members Jon Higgs – guitars, vocals
Kishor Haulenbeek – guitar, bass, vocals
James Garnett – drums
Rising up from Denver, Colorado’s prolific metal scene, Arson Charge are a five-piece behemoth made up of former members from mile-high area stalwarts Native Daughters, Chieftain, and Love Me Destroyer, playing a unique blend of Hardcore, Thrash Metal and Punk Rock, with elements from Thrashcore and Metalcore, tailored for fans of Mastodon, In Flames, Sepultura, Gojira and Black Flag. Now in 2025 the band formed of Ben Roy on vocals, Justin Hackl and Dave Sandoval on the guitars, Kris Hodgell on bass, and Cody Hull on drums is set to release their debut album, titled A Dying Light, recorded at Green Door Recordings and produced by Felipe Patino, Justin Hackl and Arson Charge, offering a bludgeoning and brutal dive into the feelings of pain, disconnection, and loss that arise from abuse and self-sabotage.
Arson Charge know exactly how to fuel their metal machine with the feelings of anger and pain in a compelling way, and their debut A Dying Light is a more-than-excellent example of how heavy music will always be a recommended way to channel all that darkness inside us. Hence, you can get in touch with those hardworking and talented boys via Facebook and Instagram, enjoy their caustic music on any streaming services like Spotify, and purchase A Dying Light from BandCamp or from the Anxious & Angry webstore. Arson Charge are beginning to spread their wings over their own country and everywhere else where good Hardcore music is appreciated with their striking debut, leaving us eager for more in the near future while we keep dealing with our inner demons.
THE HEADBANGING MOOSE 